Slant Magazine's Scores

For 2,671 reviews, this publication has graded:
  • 33% higher than the average critic
  • 2% same as the average critic
  • 65% lower than the average critic
On average, this publication grades 9 points lower than other critics. (0-100 point scale)
Average Movie review score: 53
Highest review score: 100 Stray Dogs
Lowest review score: 0 Scatter My Ashes at Bergdorf's
Score distribution:
2,671 movie reviews
  1. God bless Robert Duvall. An American cinematic institution, our greatest living actor makes the fortune-cookie bromides of Matthew Dean Russell's Seven Days in Utopia sound like Yates.
  2. It fails as a critique of draconian security states and surveillance culture, moving too fast to properly consider any of the well-worn ideas it glosses over.
  3. The film's half-hearted plea for responsibility and ethics in the news, after joyfully rolling around in its corruption for the majority of its runtime, smacks of plain pandering.
  4. It rarely feels like anything more than an effort to pander to the kind of audiences that enjoy Quentin Tarantino's films for all the wrong reasons.
  5. Tim Burton's sense of playfulness feels forced throughout, and as the film progresses, any humor or inventiveness takes a backseat to tumultuous set pieces that reference Frankenstein.
  6. A slice of slight character-driven conventionality in which directorial sensitivity and drama rooted in tense conversations and intermittent blow-ups prove incapable of imparting depth to a tale that plays like a series of simplistic stock gestures.
  7. Right up to its simplistic ending, the film is pleased to regurgitate the contrived tropes of the genre without ever honestly addressing the ethics of romantic boundaries.
  8. While full of welcome gore and blood spatter, it's bankrupt of any creative spark.
  9. Ryuhei Kitamura's latest genre bloodbath is par for the course, in spite of the occasionally flourish of interesting subtext.
    • 48 Metascore
    • 38 Critic Score
    The moody lighting and the ubiquity of deciduous trees provide a canvas for bracing drama, but the film undoes itself by its desire to impart revelatory history lessons.
  10. Its views on organized religion are so halfhearted and perfunctory as to make Kevin Smith's Dogma seem like a veritable master's class in theistic studies.
  11. Like most of the film's performances, Sisley's comes off as flat and impenetrable, the result both of a certain stoical conception of character and the dissipation of focus that arises from the movie's perceived need to encompass so much.
  12. Nina Davenport doesn't seem interested in taming her unwieldy vanity, and thus her documentary reads as a profile recontextualized as cinema narcissismo.
    • 74 Metascore
    • 38 Critic Score
    Bill Siegel has made more of a Ken Burns-esque history book--that is, a medium more dry and factual--than a film.
  13. Doesn't waste a moment on recognizable reality, consumed as it is with checking off various items from its list of clich├ęs.
  14. Due to the one-minded construction of the documentary, there's little to parse beyond impassioned harrumphs.
  15. Kevin Costner scowls and darts around the dubious thin line between "racism" and un-sugarcoated "truthfulness" that only anti-P.C. wingnuts actually believe exists.
    • 35 Metascore
    • 38 Critic Score
    The sociological commentary and historical perspectives are superficial at best and the targets often too easy.
  16. Sergio Castellitto's film quickly turns out to be more interested in reveling in the secrets of its storyline than in its sentiments.
  17. Glomming conceits and situations from a vast range of similarly themed films, it ambles along in a lethargic, good-natured manner, fitfully amusing but never approaching substantial.
  18. This adaptation of a prize-winning Australian novel is a stodgy slog save for some sporadic moments of blunt force supplied by Judy Davis and Charlotte Rampling.
  19. The film is guilty of some of the same quick judgment it clearly doesn't endorse, exploiting Julian Assange's unmistakable appearance to help give itself a boogeyman.
  20. The film turns out to instead be a strained trumpeting of the return of the proverbial king of the box office.
  21. Brighton Rock never brings its baby-faced hood antihero, the scarfaced Pinkie Brown (Sam Riley, pouting and hunched in the late-DiCaprio manner), into a semblance of human plausibility.
  22. Naturally, given the film's somewhat precious air of spiritualism, the parroted phrase that speaks most clearly to Lyman is a quotation from the book of Ecclesiastes that gives the film its title and gives Fiona a chance to offer a blithely optimistic interpretation of that most dour of Biblical books.
  23. Terry Gilliam has imposed a mix tape of his greatest hits, whose greatness was debatable to begin with, on a whiff of a story that might've flourished under the maxim "less is more."
  24. It unnecessarily hampers itself for over an hour for the sake of a gotcha moment before finally allowing its actors to explore something more than generic grief.
  25. The Gerard Johnson film's blanket cynicism is its most shopworn quality of all.
  26. Given its virtuous subject matter and the relative bloodlessness of its violence, perhaps Renny Harlin means for this film to be a means of atoning for his previous cinematic sins.
  27. Does Katie Holmes's hubby get script-doctoring rights even on her own film projects? That would explain why Troy Nixey's inane Don't Be Afraid of the Dark, co-written and produced by Guillermo del Toro, at times suggests an anti-Rx PSA.

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